Issues : GE revisions
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b. 94
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composition: Op. 11, Concerto in E minor, Mvt II
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In the main text, we give the unequivocal rhythm of FE (→EE). In GE1 (→GE2), the whole group of 6 notes was combined by mistake with a demisemiquaver beam, which was revised in GE3 by adding the digit 6 and moving the last quaver in the L.H. under f category imprint: Differences between sources issues: Errors in GE , GE revisions , Rhythmic errors |
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b. 96
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composition: Op. 11, Concerto in E minor, Mvt II
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Naturally, the version of GE1 is erroneous – cf. all variants of this phrase in bars 47, 49 and 98, where the respective note is never lowered. A sharp was most probably added as part of a routine revision of accidentals – the reviser probably did not recognise the unusual G category imprint: Interpretations within context; Differences between sources issues: Errors in GE , GE revisions |
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b. 99
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composition: Op. 11, Concerto in E minor, Mvt II category imprint: Interpretations within context; Differences between sources issues: Errors in GE , GE revisions |
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b. 100
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composition: Op. 11, Concerto in E minor, Mvt II
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Leading the dashes marking the range of smorz. only to the 2nd beat of the bar must be considered an inaccuracy – the indication is almost certainly to be valid until rallent. – just like in GE – or until the end of the bar, which we suggest in the main text. category imprint: Differences between sources; Editorial revisions issues: GE revisions |
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b. 101
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composition: Op. 11, Concerto in E minor, Mvt II
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Like in analogous bars 50-52, the pedal release moment from bar 99 we suggest (compliant with the indication introduced in GE3) allows for maintaining the dying sound of the broadly broken G category imprint: Differences between sources; Editorial revisions issues: GE revisions , No pedal release mark |
2. It resulted in a totally arbitrary and still erroneous version, since the sextuplet should be written with semiquavers in this place.
2 in 
in 